PipeChat Digest #961 - Tuesday, June 29, 1999
 
Re: Variations, etc...
  by "Jason McGuire" <jason@johannus-norcal.com>
Re: Bellows saftey
  by <ORGANUT@aol.com>
Re: Electronics vs Pipe
  by <ORGANUT@aol.com>
Re: Bellows saftey
  by <Prestant16@aol.com>
Electronics vs Pipe
  by <KriderSM@aol.com>
George Wright's playing
  by <KriderSM@aol.com>
pipe vs. electronic
  by "VEAGUE" <dutchorgan@svs.net>
Disney organ
  by "ray ahrens" <ray_ahrens@hotmail.com>
chamber organs
  by "ray ahrens" <ray_ahrens@hotmail.com>
Worcester Regional - Day 2
  by <ManderUSA@aol.com>
 


(back) Subject: Re: Variations, etc... From: "Jason McGuire" <jason@johannus-norcal.com> Date: Mon, 28 Jun 1999 16:16:13 -0700   There's a hymn tune prelude on Repton by Peter Pindar Stearns in 12 pieces for organ.   Jason   > Does anyone know of any decent variations, preludes, fugues, etc... on = these > hymn tunes REPTON and DOWN AMPHNEY? >  
(back) Subject: Re: Bellows saftey From: ORGANUT@aol.com Date: Mon, 28 Jun 1999 19:26:13 EDT   John,   While it is not a good idea to stand on bellows, sometime it is necessary. = Most bellows have stops installed inside them which the top comes to rest = on when the bellows collapses. Try to stand on the middle of the bellows = top, and avoid any wire rods which may be sticking through the top. These are usually connected to the internal valve rods, and angels will weep for you = if you dislodge one of them! NEVER STAND ON AN INFLATED BELLOWS.   Later, Phil L.  
(back) Subject: Re: Electronics vs Pipe From: ORGANUT@aol.com Date: Mon, 28 Jun 1999 19:43:59 EDT   In a message dated 6/28/99 5:58:33 PM Central Daylight Time, desertbob@rglobal.net writes:   << Motorboating. A coupling capacitor hath gone bad. EZ fix. DeserTBoB >> Bob, the "Motor Boat" stop could be on! Did they check that? <grin>   Later, Phil L.  
(back) Subject: Re: Bellows saftey From: Prestant16@aol.com Date: Mon, 28 Jun 1999 21:47:00 EDT   In MOST cases it is just fine to step on the bellows when the organ is = off, do a dance if you want to. I have seen people crawl on bellows when the organ is on, I DO NOT RECCOMEND THAT. It puts unneeded and uneven = pressure on the bellows and can rupture them. If the only way to get to the swell = is by crawling on the bellows, that is probably the way the builder intended = it. Right now I am helping install a good size instrument with replica skinner resvoirs (brand new) and the easiest way to get to the swell it to =   climb up the ladder, step on the swell resevoir which is just below the = door, and go into the swell. When going inside the organ here are a few tips:   Most organs are overbuilt   It is good that wood bends when you walk on it, if it didn't it would snap   You can have all your friends inside a Cassavant, and the organ will not = make a creek or move a fraction of an inch. In my experience, Cassavant = organs, old and new are VERY overbuilt, and look at all the Maple the use for walkboards!!!!!!   -William C.  
(back) Subject: Electronics vs Pipe From: KriderSM@aol.com Date: Mon, 28 Jun 1999 22:51:51 EDT   Thank God Almighty that we were able to read reasonable statements written = by both sides of the fence this time. This Electronic vs Pipe was(is) most enjoyable to read.   Stan Krider  
(back) Subject: George Wright's playing From: KriderSM@aol.com Date: Mon, 28 Jun 1999 23:04:58 EDT     I could not decipher whether Randall agreed, or disagreed with me. Randy, = it seems that you were stating an opposing position, yet, your comments came = off as a rewording of my own sentiments.   Some folks will not darken a concert hall if they feel that they are in = store for a loooooooong, meaningless concert, yet will readily attend a concert that features music they love, albeit in short doses. Other folks, your 9 year olds examples included, may indeed sit still for the interim particularly if there is a lot of action on the stage accompanying the = music.   I still think we are in agreement.   Stan Krider   Randall Magnuson recently wrote: <snip> Come on, have we lost the ability to follow and appreciate something that has some complexity to it's presentation? Are 3 hour theatre productions ala Phantom/Beast/etc a wild failure? I attended Beauty & The Beast in Atlanta with a theatre crammed full of 9 year olds on their seats. Do symphonies go out of vogue playing that ancient stuff? On the contrary, they are some of the toughest tickets around.   As far as people that can't sit still and savor an experience without gimmicks for 5 minutes, project MTV with triple-speed commercials in the theatre at 120 dB to tickle the ADD crowd and get it over with.   Apparently some wouldn't walk across the street for such. They're already lost anyway. Send them to a truck pull or a night at the WWF.   Play some music. Let it soar to deliver a travel and vision the composer was moved to try and share. Sans the senseless three alarm interruptions.<snip>   ....in response to my comments:   >I think that the fact that George was able to distill so many musical styles >into a short musical piece contributed to his appeal to the common = person. >Trained organists can appreciate the lengthier tonal and harmonic development >of tunes. The common person, on the other hand, wouldn't sit still >(figuratively and literally) long enough to develop an apprecaition for these >musical styles. George kept it short and sweet so that the untrained = could >learn to appreciate organ music. > >Without George, I would not appreciate Papadakos, Olivera and Strony = today.  
(back) Subject: pipe vs. electronic From: "VEAGUE" <dutchorgan@svs.net> Date: Mon, 28 Jun 1999 22:11:08 -0500   Jason... Did you really say +ACI-Holy +ACUAJgAkAEAAIg- in church?? Boy = if I did that, I'd still be saying my rosary and crawling on my knees+ACEAIQ- hehehehe.   Rick dutchorgan+AEA-svs.net        
(back) Subject: Disney organ From: ray ahrens <ray_ahrens@hotmail.com> Date: Mon, 28 Jun 1999 21:31:19 PDT   Anyone know the spec of the Rosales/Glatter-Gotz organ going into soon to = be built Walt Disney Concert Hall in Los Angeles? How the heck are they = going to engineer that facade? Can't wait to see it. Was Fisk in the running since they had worked with Rosales on the organ for Rice U in Houston?     _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com  
(back) Subject: chamber organs From: ray ahrens <ray_ahrens@hotmail.com> Date: Mon, 28 Jun 1999 21:34:37 PDT   Have any of you organbuilders on the list built an English-style chamber organ into a piece of furniture such as a china cabinet, bookcase, or = other type of furniture?     _______________________________________________________________ Get Free Email and Do More On The Web. Visit http://www.msn.com  
(back) Subject: Worcester Regional - Day 2 From: ManderUSA@aol.com Date: Tue, 29 Jun 1999 01:39:25 EDT   Dear Lists,   The pressure of work kept me from attending any of the six possible = workshops this morning, so I cannot report even on the two I might have attended. Possibly others on the list might be able to comment on those. After lunch = at the hotel, we were all bussed to Pakachoag Church (UCC), where, for the = first time, I heard Katharine Pardee play, and also heard my first Dobson organ. = I have heard lots of good things about both. Perhaps I can offer here an Internet scoop - Katharine has been appointed as interim Professor of = Organ at Eastman School for next year, good news for her and for Eastman.   The program:   Bach - Prelude & Fugue in G. This is BWV 550, not the more familiar G = Major that begins with the upward arpeggio, which I think is called 541? = Anyway, this G Major is a wonderfully intricate work with a dancing fugue, a work that Barbara Owen (sitting next to me) and I agreed was on our list of "pieces we used to play." My list might be longer than hers. This was followed by the double pedal "Wir glauben," a piece one describes as luminous, I think - played so gently and wonderfully. Here followed the Mendelssohn 4th Sonata, in a really bravura performance. =   This was followed by what has to be seen as a great event, the unveiling = of a wonderful new work commissioned by the Worcester Chapter, with help from a =   Boston Chapter AGO Special Projects Advisory Committee. Les Tres Riches Heures (sorry the Internet will not support accents) by Marjorie Merryman = (b. 1951) is inspired by the Book of Hours (the liturgical monastic "offices") = of Jean, Duc de Berry, with miniature paintings by master Flemish./German artists of the 15th century. The six movements are entitled: 1.Procession, = 2. Dialogues, 3. Cycle of the Year, 4. Rebellion, 5. De Profundis, and 6. Celebrations. I don't want to take bandwidth here, but if people are interested, I will gladly copy the very fine notes about this work that describe both the paintings and the nature of the music inspired by each = one. Marjorie Merryman was present at the performance, and was acknowledged by Katharine, and roundly cheered by the audience. The program finished with = a brilliant performance of the Dupre G Minor Prelude and Fugue. The Dobson organ is great to see and great to hear. It is in a room that, while acoustically clear, could not be described as live. The organ is a perfect =   fit, unforced but ample, with well developed choruses with cohesive = mixtures that top each chorus without shrillness of any kind. If anything, the instrument might perhaps be a tad too discreet. The casework is = wonderfully made, and the attached console truly gorgeous. The presence of Mr. Dobson = was acknowledged by Katharine at the end, and the audience made its = appreciation clear.   Then it was on the bus, and down the big hill to Holy Cross College chapel =   once again. James David Christie was scheduled to present a workshop about =   performing early music. We discovered instead that Marie Claire was at the =   console in the gallery ready to give a masterclass on the music of = Buxtehude. Jim had left for the airport only a short while before, in order to arrive = in Germany just barely in time for a competition at which he is to be a = judge. With the gallery already full of people by the time I arrived, it was not possible to sit up there and see anything, so I and the busload I came = with determined that it was best and coolest to sit downstairs. Marie Claire = was fitted with a microphone, with which we could hear most of her comments. There were three student performers, and I cannot say who they were, but = they played well indeed, and Marie Claire's comments concerned matters of articulation, rubato, and the presence of many wrong or questionable notes = in the various Buxtehude editions, given the lack of contemporary scores, and =   the Tabulature origins of the editions that we do have. It was just tremendously pleasant to sit down in the chapel and hear this wonderful = music on a grand organ. A storm was brewing, and there were delicious moments at which breezes flowed down the nave from the west doors.   Back on the bus, to the beautiful St. Joseph Roman Catholic Church = downtown. Herein hangs an incredibly inspiring tale which I believe bears telling, = so here goes, quoting from the notes in our convention booklet: "The present church was built in 1926 . . . . The stained glass windows date from 1928, =   and are by the Von Grichten Studios of Munich, Germany. The Casavant . . . =   pipe organ was dedicated in 1928 . . . This church was declared closed in 1992 by the previous Bishop . . . The parishioners protested the closing. = At that time, the church had 750 families, and no valid reasons were given = for the closing. The parishioners formed the Committee To Save St. Joseph = Church, and occupied the building for 13 months, 24 hours a day, to prevent = anything from happening to it. . . . The case went to the State Superior Court and =   then to the Supreme Court of the U. S. Parishioners fulfilled their Mass obligations at area churches, and held their own 'dry' Masses at St. Joseph's, with a large amount of support from both local and national = levels .. . . They were evicted from the church by police in June of 1993, and proceeded to continue their Rosaries and services outside the church on = the sidwalk, and in the winter, at the Covenant Methodist Church across the street, and monitoring outside the building daily from about 6 a.m. to Midnight. In the mean time, the Bishop retired and new Bishop Daniel = Reilly . .. . . visited the church during a winter blizzard in February of 1995, = saw its beauty and heard the organ, and began communication between the Parish =   Committee and the Diocese . . . the church was declared reopened, with = the first official Mass held in February of 1996." I can tell you that this is = a building worthy of all of this persistence and care, and the three-manual instrument of only 29 ranks packs a great deal of variety and lots of = power for its small size. We were at St. Joseph's for "A Celebration of Psalms." =   The service began with Kenneth Grinnell playing the Franck Fantasy in A, a =   perfect work to show the beauty and power of the instrument. We then heard = a "choral salutation," a setting of Psalm 150 by the 18th century John = Travers, sung by Youth Pro Musica, normally conducted by Hazel Somerville, but = today conducted by her husband, Murray Somerville. Hazel had fallen and broken = an arm, and is to have surgery tomorrow (Tuesday), if I heard the = announcement correctly. The choir, possibly effected by this turn of events, was not in =   top form, unable to judge the great space and respond to it. There were intonation problems as well. They made up for it later. Here followed the processional hymn, tune Old 124th, with a text of F. Pratt Green. We were allowed verses 2 and 3 in harmony. After the RSCM "saints and angels" collect, we heard a very fine Convention Choir conducted by Michelle Graveline, in a splendid setting of Psalm 23 by Gwyneth Walker (b. 1947), = one of several works commissioned by this convention! E.C. Schirmer publishes = it. After a very vigorous homily concerning the Psalms, we sang a Timothy Dudley-Smith hymn, O God whose thoughts are not as ours, to a good tune, Frederiksted, by Henry Hokans, organist for many ears at All Saint's = Church, Worcester. After spoken prayers, with a good sung response by Christopher Walker, we heard a setting of Psalm 111 by Richard Proulx, with an accompaniment of Handbells and a Triangle. This was sung really well by = Youth Pro Musica, with Murray Somerville again conducting. The next item in the bulletin was the passing of the peace, but the organist immediately began = to play through the next hymn, Charles Wesley to Darwall's 148th, surely on everyone's list of favorite tunes, so during the playthrough, we all did = all the greeting we could, before launching into the hymn, with no harmony supplied, sadly. Kenneth Grinnell then treated us to a fun toccata by Albert Renaud (1855-1924). Back to the hotel for dinner.   Many on these lists will have known Stephen Long. I got to know him not = long before he left Worcester for the Northwest, where he died a few years = later. He spent about 17 years at Trinity Lutheran Church here. The circumstance = of our becoming acquainted was rather bizarre. There was a demented man in = New Jersey who, sometime before 1990, took up the hobby of phoning organists = and others who advertised in The American Organist Magazine. His calls were essentially obscene in nature, and on occasion, he branched out by also phoning the churches where organists were employed. We believed at the = time that he worked for a phone company. He made a huge number of long-distance =   calls, but he also knew how to activate one's call-forwarding, and was = able to thus intercept calls. That gives you enough of an idea. I was on the = list, and I learned that Stephen was also on it, and so I phoned him one day to tell him some things I had learned about this guy, and some advice that = law enforcement people on the case were offering. We thus became friends, for which I thank the telephone madman, who eventually got put away somewhere, =   with, hopefully, no phone in sight. So it was nice to be in the church = where Stephen worked for so many years, but also to see on the bottom of the = page of Marie-Claire Alain's program, an advert in his memory. The program:   A de Grigny organ Mass, with five movements typical of the genre. A Balbastre Noel, ou s'en vont ces gais bergers? The Bach Piece d'orgue, with wonderful ornamentation in the big polyphonic =   section. Three Bach settings of Allein Gott from the Leipzig Chorales. Bach P & F in C Major (9/8)   All of the above were played with clarity, subtlety, perfect control, well-thought out registrations - just great performances all. Then, the special treat of hearing her play the Postlude pour l'office de Complies, = and the Deuxieme Fantaisie by her brother. The printed program closed with the =   first American performance of a Final in F Minor by her father, Albert = Alain (1880-1971). But such was the commotion after the Toccata that we earned = an encore, which I am told was a (rather Vierne-like) scherzo also by Albert Alain. Thank you Worcester chapter for this and many other blessings.   The organ is Noack Opus 40 of 1968. This is a gutsy three-manual = instrument of 41 stops, and it is just fine for everything it had to do tonight, including the mystical works of Jehan Alain, despite its unequal = temperament. This event was perhaps also a rehearsal for the afterlife - I don't know = when I have been hotter in my life!   Until tomorrow,   Malcolm Wechsler Mander Organs, Ltd. www.mander-organs.com